Originally hailing from Australia, now based in Los Angeles, David “Meggs” Hooke creates explosive figurative works and murals using bright colors and raw textures. For his upcoming solo at Beyond Eden Art Fair in Los Angeles, Meggs looked beyond his usual comic book and mythological influences and turned to his natural environment. Titled “Paving Paradise”, his exhibit looks at the duality of our relationship between nature and that which is man-made. “It questions our effect on the planet’s rapidly diminishing natural resources, and where our values lie as living beings on this planet,” he told Hi-Fructose in a recent studio visit.
In the imagination of 1986, Frankenstein creatures made of sheeps’ skulls, spoons and scrap metal inhabit a world populated by steel flowers and paper birds. Georgie Seccull (aka 1986) is the Melbourne-based artist behind the fantastic installations, whose gigantic scale and raw aesthetic are reminiscent of prehistoric times. Using a combination of salvaged and recycled materials, 1986 builds installations with eccentric materials like computer parts and utensils for the wings of beetles. By merging organic matter like bamboo leaves, acorns and kumquats with modern instruments used in technology and mechanics, 1986 hurls forces of the past and future together to create otherworldly beings in the present.
Brooklyn based sculptor Dustin Yellin (previously covered here) has earned acclaim for his monumental figures made of collaged materials inside of glass panels. The artist calls them “paintings-sculptures” for his combined use of drawings, paintings, magazine clippings, and three-dimensional works, weighing 12 tons at their largest. Inspired by 19th century taxonomic art, Yellin’s work focuses on otherworldly mutations of living things, especially plants and insects. His recently completed “Psychogeographies” is now on permanent display at the Kennedy Center for the Performing Arts, Washington, DC.
Acrobatic bodies, dismembered heads and elongated limbs stack, twist, and slide among one another to create complex human compositions. The new paintings by Richard Colman are now on display in his solo exhibition, “Faces, Figures, Places, and Things,” as the inaugural exhibition for San Francisco’s Chandran Gallery. The colorful artworks apply both subtle and obvious, real and fantastical instances of human behavior to explore the intricacies and curiosities of human relations. Coleman’s use of minimalist forms and color blocking guide one to focus on the content of his paintings as opposed to their surface aesthetics.
Most of us flinch when we see a bad bruise. Finland born, Helsinki based artist Riikka Hyvönen sees an inspiring myriad of colors that tell a story. Her art combines hyperrealism painting with sculptural elements, pop and kitsch styles, taking the pain that we have all experienced at some point and making it strangely alluring. She calls bruises “kisses”, specifically worn by roller derby girls, of which she collects photographs and then reinterprets into large-scale artworks.
Matt Linares “The Second Key Master”
Tattooed doves and pygmy giraffes, singing harpies and suited wolverines are now on display at Portland’s Antler Gallery as part of “Unnatural Histories IV.” The exhibition, as previously reported earlier this month, is the fourth edition of a major group show featuring work by 27 artists who merge human with animal to create fantastic creatures. Some are whimsical like Redd Walitzki’s “Pygmy Mountain Giraffe,” which the artist describes as being particularly fond of “salt water taffy left behind by careless tourists” and Morgaine Faye’s “Wadjet,” the Egyptian god and protector of kings and women in childbirth. To accompany her single rainbow winged bird, Faye wrote a poem detailing the omnipresence of her imagined “Protector of the Pharaohs.”